National Register of Historic Places Inventory -- Nomination Form

Total Page:16

File Type:pdf, Size:1020Kb

National Register of Historic Places Inventory -- Nomination Form Theme: 19th Century Architecture Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THH INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS I NAME HISTORIC Susan Lawrence Dana House AND/OR COMMON Susan Lawrence Dana House LOCATION STREETS.NUMBER 301 Lawrence Avenue _NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Springfield _. VICINITY OF 20th STATE CODE COUNTY CODE Illinois Sangamon QCLA SSIFI C ATI ON CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT _PUBLIC XX.OCCUPIED —AGRICULTURE —MUSEUM ^BUILDING(S) ^PRIVATE —UNOCCUPIED X_COMMERCIAL _^PARK _ STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL .X.PRIVATE RESIDENCE _ SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS _OBJECT _ IN PROCESS XYES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED — YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER: [OWNER OF PROPERTY NAME Charles C. Thomas, Thomas Publishing Company C217-789-898Q) STREET & NUMBER CITY, TOWN STATE Springfield VICINITY OF Illinois LOCATION OF LEGAL DESCRIPTION COURTHOUSE, Sangamon County Courthouse REGISTRY OF DEEDS, ETC. STREET & NUMBER CITY, TOWN STATE Springfield Illinois REPRESENTATION IN EXISTING SURVEYS DATE —FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY, TOWN STATE DESCRIPTION CONDITION CHECK ONE CHECK ONE ^EXCELLENT —DETERIORATED XjJNALTERED ^.ORIGINAL SITE —GOOD —RUINS —ALTERED —MOVED DATE. —FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE Dr. Paul Sprague has described the house in detail in Outdoor IIlinois, Volume XII, Number 8, October 1973 (later transcribed to the National Register of Historic Places nomination form, as follows: "The former residence of Susan Lawrence Dana, its attached library, and garage, stands on a large rectangular lot at the northwest corner of Lawrence and Fourth Streets in Springfield, Illinois. At the rear an alley separates the end of the walled yard and garage from a railroad. The garage is brick and except for some remodeling by Wright on the garden side, dates from the time of the original post-Civil War house built by Mrs. Dana 1 s father. The siting of the house on the flat land was controlled by the position of the original residence around which the new house was built before demolishing the old one. The present house possesses a basement which is unusual in a design by Wright. The reason is because a basement already existed under the original house and could not very easily be removed. Thus, except for a new bowling alley added by Wright, the basement and foundation walls are those of the original Lawrence residence. The exterior walls are a buff Roman brick, with the usual horizontally raked joints and flush verticals, apparently laid over an interior frame structure. They rise from a splayed limestone base. The walls of the second story are surfaced with a deep brown terra cotta embossed with geometrical designs. Capping the various masses are tile-covered over­ hanging open gable roofs of low pitch. The windows and doors contain large amounts of stained glass, some of it having purely geometric designs, the rest supporting designs of a geometric character but derived from plant- life of the prairie states. The exterior is especially complex because of the contrasting yet highly disciplined interplay of solid and void, augmented by the open gables. Variety is also introduced by the mixture of materials of different textures and tones. These, (the buff of the brick, yellow of the limestone, brown of the terra cotta and green of the copper), give to the house an organic, somewhat autumnal quality. The entrance on Lawrence Avenue leads into a grand stair hall opening through two stories and framed by galleries at the second floor level. In the entrance is a semi-stylized statue called "The Flower in the Crannied Wall" by Richard Bock, Wright's sculptor through about 1914. The ground floor level of the two-story hall is reached by a flight of stairs on either side of the statue. To the left a one-story space opens off of the hall in which there is a geometrically-ordered fountain also by Bock. Further on one reaches the magnificent two-story dining room with breakfast alcove behind. The room is richly detailed with some of the finest glass in the house, elegant bronze and stained-glass chandeliers, a built-in buffet and painted scenes of a Japanese-print-like character on horizontal stretches of wall between the first and second floors. Right of the dining room is a (Continued) 01 SIGNIFICANCE PERIOD AREAS OF SIGNIFICANCE - CHECK AND JUSTIFY BELOW PREHISTORIC _ARCHEOLOGY-PREHISTORIC _COMMUNITY PLANNING —LANDSCAPE ARCHITECTURE —RELIGION 1400-1499 _ARCHEOLOGY-HISTORIC —CONSERVATION —LAW —SCIENCE 1500-1599 _AGRICULTURE —ECONOMICS —LITERATURE —SCULPTURE 1600-1699 X-ARCHITECTURE —EDUCATION —MILITARY —SOCIAL/HUMANITARIAN 1700-1799 _ART —ENGINEERING —MUSIC —THEATER 1800-1899 —COMMERCE —EXPLORATION/SETTLEMENT —PHILOSOPHY —TRANSPORTATION —COMMUNICATIONS —INDUSTRY —POLITICS/GOVERNMENT —OTHER (SPECIFY) —INVENTION SPECIFIC DATES 1902-19Q6 BUILDER/ARCHITECT Frank LIoyd Wright STATEMENT OF SIGNIFICANCE The Dana House is one of Wright's masterworks of his early period—he lavished upon it all of his creative skill—and it s^till retains a great deal of original glass, tile and furniture, all custom made to the architect's specifications. It was the showplace of Springfield in its day and remains one of the most important examples of early 20th century architecture. Paul Sprague writes: "One of Frank Lloyd Wright's grandest houses from his Oak Park period was designed in 1902 for the Springfield socilite Susan Lawrence Dana. Of the many rumors about her alleged eccentric personality only one, necessary to understand the most unusual part of the house, need be cited. It is said that her father, Rheuna Lawrence, willed to her the family home in Springfield but only on the condition that she retain it in any building schemes she might entertain. When the commission came to Wright his solution to this curious problem was to build the new house around the old, demolishing the latter as he went while preserving from the old house a single room in its original state. Most writers on the house do not seem to know that the house was designed in 1902, and the library, three years later in 1905. The house originally terminated on the west side of the Lawrence Avenue front probably as an open porch. The library, when added, was connected to it by extending and enclosing the porch. "1 Grant Manson in his Frank Lloyd Wright to 1910 has the following to say about the family: "The Lawrences had been pioneers in the settlement of central Illinois, but by the twentieth century they were off the land, living in affluence at the State capital. Only 'Mother Lawrence', kindly remembered in 'An Autobiography1 for her home—made blackberry jam and salt-risen bread, retained the simple tastes of pioneer days. Her daughter, Susan Dana, was a woman of ambition and far wider outlook. She came to Wright to place the commission for a new house at Springfield which would be not merely a residence but a family memorial and a setting for the suitable discharge of her obligations as a social leader of the community."2 1Sprague, Paul. Outdoor Illinois, Vol. XII, No. 8, October 1973, pp. 12-18, ^Manson, Grant. Frank Lloyd Wright to 1910, pp. 120-121. ^-— 13 T J (Continued) IMAJOR BIBLIOGRAPHICAL REFERENCES (See Continuation Sheet) 3GEOGRAPHICAL DATA ACREAGE OF NOMINATED PROPERTY UTM REFERENCES ,1 6, .2.7 29 9 0 A 4 .0 8.0 6 0, A| , 1 1 I , I i i | i 1 t ( i i J el , 1 I i , i , , ! I . I . L , | ZONE EASTING NORTHING ZONE EASTING NORTHING C UJ 1 1 , i . , 1 , 1 , 1 , , 1 Pi . | i 1 . 1 , , 1 1 . 1 . Ll_»J VERBAL BOUNDARY DESCRIPTION (See Continuation Sheet) LIST ALL STATES AND COUNTIES FOR PROPERTIES OVERLAPPING STATE OR COUNTY BOUNDARIES STATE CODE COUNTY CODE STATE CODE COUNTY CODE [FORM PREPARED BY NAME/TITLE Carolyn Pitts, Architectural Historian__________________________ ORGANIZATION DATE Historic Sites Survey, National Park Service_________July 1975_____ STREET& NUMBER TELEPHONE 1100 L Street NW. _____________________________202-525-5464 CITY OR TOWN STATE Washington__________________________________D.C. 20240_____ STATE HISTORIC PRESERVATION OFFICER CERTIFICATION THE EVALUATED SIGNIFICANCE OF THIS PROPERTY WITHIN THE STATE IS: NATIONAL 2L_ STATE___ LOCAL___ As the designated State Historic Preservation Officer for the National Historic Preservation Act of 1966 (Public Law 89-665), I hereby nominate this property for inclusion in the National Register and certify that it has been evaluated according to the criteria and procedures set forth by the National Park Service. FEDERAL REPRESENTATIVE SIGNATURE TITLE DATE Form No 10-300a (Rev. 10-74) UNITED STATES DEPARTMENT OF THh INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM small square room preserved complete with its detailing and fireplace from the pre-Civil War house. Beyon.d it is the living room which opens onto the porches at either side. The kitchen and service areas are on the other side of the dining room. Upstairs three bedrooms open onto balconies communicating with the upper parts of the hall and dining room. The master bedroom still contains much, of the furniture designed by Wright for it. The library is a separate building behind the house on the Lawrence Avenue side. It is connected with the house through a glass-enclosed gallery whose roof continues west from a small suite of rooms in the southwest corner of the house designed, it is said, for use by the mother of Susan Lawrence. Entry to the library is from the gallery by way of a stunning glassed-in prow-like space that extends, into the rear yard or by a round-about stairway that enters the library on axis.
Recommended publications
  • 2019 Annual Report
    ANNUAL REPORT January 1 - December 31, 2019 flwright.org MISSION The mission of the Trust is to engage, educate and inspire the public through interpretation of Frank Lloyd Wright’s design legacy and preservation of his original sites for future generations. CORE VALUES ENGAGEMENT Engaging a broad and diverse local, regional, national and international audience through a dynamic cultural tourism program, a comprehensive and interactive website, and consistent marketing and communications initiatives. EDUCATION Affirming the contemporary relevance of Wright’s design legacy by educating K-12 students through innovative design programs that nurture individual vision; by presenting quality adult enrichment programs, national/international travel programs; and by producing electronic/print publications. INSPIRATION Inspiring our audience through powerful aesthetic experiences of authentic Wright sites, preserved to Wright’s original design vision. FOR FUTURE GENERATIONS Sculptural panel (detail), Richard Bock, ca. 1898, Developing the Trust’s resources and maintaining the Trust’s financial stability in order to sustain Frank Lloyd Wright Studio entrance. Photo: Matt Soria Wright’s original sites for future generations and ensure a lasting and secure future for the Trust, supported by strong community and business relationships and by dynamic Board engagement. PAGE 2 Mission and Core Values ....................................................................... 2 Letter from the Chairman of the Board .................................................
    [Show full text]
  • Frank Lloyd Wright - Wikipedia, the Free Encyclopedia
    Frank Lloyd Wright - Wikipedia, the free encyclopedia http://en.wikipedia.org/w/index.php?title=Frank_... Frank Lloyd Wright From Wikipedia, the free encyclopedia Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, Frank Lloyd Wright 1959) was an American architect, interior designer, writer and educator, who designed more than 1000 structures and completed 532 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His work includes original and innovative examples of many different building types, including offices, churches, schools, Born Frank Lincoln Wright skyscrapers, hotels, and museums. Wright June 8, 1867 also designed many of the interior Richland Center, Wisconsin elements of his buildings, such as the furniture and stained glass. Wright Died April 9, 1959 (aged 91) authored 20 books and many articles and Phoenix, Arizona was a popular lecturer in the United Nationality American States and in Europe. His colorful Alma mater University of Wisconsin- personal life often made headlines, most Madison notably for the 1914 fire and murders at his Taliesin studio. Already well known Buildings Fallingwater during his lifetime, Wright was recognized Solomon R. Guggenheim in 1991 by the American Institute of Museum Architects as "the greatest American Johnson Wax Headquarters [1] architect of all time." Taliesin Taliesin West Robie House Contents Imperial Hotel, Tokyo Darwin D.
    [Show full text]
  • Hclassifi Cation
    Form No. 10-300 (Rev. 10-74) THEME: 19th-century Architecture UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOW TO COMPLETE NATIONAL REGISTER FORMS ____________TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS______ I NAME HISTORIC Frank Lloyd Wright Home and Studio AND/OR COMMON Oak Park House and Studio Q LOCATION STREETS. NUMBER 428 Forest Avenue (Home) 951 Chicago Avenue (Studio) —NOT FOR PUBLICATION CITY, TOWN CONGRESSIONAL DISTRICT Oak Park — VICINITY OF 6th STATE CODE COUNTY CODE Illinois Cook HCLASSIFI CATION CATEGORY OWNERSHIP STATUS PRESENT USE __DISTRICT _PUBLIC XX.OCCUP1ED _ AGRICULTURE XX-MUSEUM XX-BUILDING(S) XXXpRlVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE _BOTH X_WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE XXsiTE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT —RELIGIOUS —OBJECT __IN PROCESS X^ES: RESTRICTED —GOVERNMENT —SCIENTIFIC XXBEING CONSIDERED _YES: UNRESTRICTED —INDUSTRIAL —TRANSPORTATION _NO —MILITARY —OTHER: OWNER OF PROPERTY NAME Mrs. Dawn Gpshorn, President, The Frank Lloyd Wright Home and Studio Foundation STREET & NUMBER ______Forest Avenue at Chicago Avenue (312-848-1976) CITY. TOWN STATE Oak Park VICINITY OF Illinois 60302 LOCATION OF LEGAL DESCRIPTION COURTHOUSE, REGISTRY OF DEEDS'. County Recorder's Office STREETS NUMBER 118 North Clark Street CITY, TOWN STATE Chicago Illinois REPRESENTATION IN EXISTING SURVEYS TITLE Survey of Historic Resources, Oak Park DATE —FEDERAL XXsTATE _COUNTY _LOCAL DEPOSITORY
    [Show full text]
  • THE HOME and STUDIO CORE TOUR Introduction the Frank Lloyd
    THE HOME AND STUDIO CORE TOUR Introduction The Frank Lloyd Wright Home and Studio Tour as described in this section of the Volunteer Manual is considered the CORE TOUR in terms of tour mechanics and content. Overview of Mechanics · Under normal circumstances, follow the tour route/sequence of 11 Stops and 2 pauses · For each of these 11 designated Stops, the manual includes all of the rooms that should be presented at that stop. This means that often you will talk about rooms before the group walks through them. Therefore, it is important to prepare the group and to keep them moving to the next stop. · Guests expect a 45-55 minute tour, and by following the mechanics of this tour will allow you to move your groups efficiently through the museum to ensure satisfaction, museum safety and security and efficient logistics. · Interpreters must stop only at those locations indicated in this manual. · Pauses are used to gather your groups and provide way-finding only. They are not intended for delivering tour content · Keep the tour group together. Give firm, but appropriate, verbal directions as necessary to achieve this important objective. Remind visitors of the rules. · Close all exterior doors YOURSELF! If you touch an exterior door, you own the responsibility to make sure it is secure before you let go of the knob. · Be guided by specific directions from Guest Relations staff regarding exceptions to this standard tour to meet immediate needs. · Under usual circumstances, a single interpreter will conduct the entire tour for a given group of no more than 16 visitors.
    [Show full text]
  • Wright, Frank Lloyd
    ORDER FORM A Selection of Original Lithographs from Studies & Executed Buildings by Frank Lloyd Wright, 1910 Select ID/Plate # Title Price Select ID/Plate # Title Price 65-1855 House for Mr. W. H. Winslow in River 1000.00 65-1878 House for Mr. W. H. Winslow in River 400.00 Forest, Illinois, 1894. Pl. I. (W) Forest, Illinois. Entrance Detail, 1894. Pl. 1a 1b I. (T) 65-1869 Perspective and ground plan of a city 800.00 65-1852 Francis Apartments, Forestville Ave. and 900.00 dwelling for Isadore Heller, Woodlawn 32nd St., Chicago, 1895. Pl. V. (W) 4 Avenue, 1897. Pl. IV. (W) 5 65-1857 Bird's eye view of Lexington Terraces, 1250.00 65-1873 Lexington Terraces. Ground Plan, 1909. 500.00 1909. Pl. VII. (W) Pl. VII. (T) 7a 7b 65-1853 Dwelling of Mr. McAfee, Kenilworth, 400.00 65-1867 Dwelling for Victor Metzger, Sault Ste. 750.00 Illinois. Ground plan, 1894. Pl. VIII. (T) Marie, Michigan. Perspective view and 8b 9b ground plan, 1902. Pl. IX. (T) 65-1897 Hillside Home School building. Ground 400.00 65-1879 River Forest Golf Club, 1901. Pl. XI. (W) 800.00 plan, 1902. Pl. X. (T) 10b 11 65-1889 Study for a concrete bank building in a 850.00 65-1861 Study for a concrete bank building in a 750.00 small city. (A Village Bank), 1901. Pl. XII. small city. (A Village Bank), 1901. Pl. XII. 12a (W) 12b (T) 65-1862 A typical house intended to form the unit 900.00 65-1868 The Quadruple Block Plan, 1900.
    [Show full text]
  • Scoville Park Master Plan Update
    Scoville Park Master Plan Update Presentation March 21st , 2018 Scoville Park Master Plan Update - Park District of Oak Park Tonight • Brief Review of Park District’s Planning Process • Cost of Renovations and Repairs from 2013 • Brief Review of Master Plan 2010 • A Comparison : The Park before and after Renovations • Some Suggestions for new Elements • Your opinions and Ideas Scoville Park Master Plan Update - Park District of Oak Park Comparison 2010 and 2018 “Make the park more open and inviting” Major Concern of Community Members 2010 “What is Oak Park’s most lovely park? I’d say Scoville Park”. Dan Haley, Wednesday Journal, 2018 “and newly crafted, spacious entries at Lake and Oak Park and Oak Park and Ontario, this park is open and accessible”. Dan Haley, Wednesday Journal, 2018 Scoville Park Master Plan Update - Park District of Oak Park Construction Costs • Essential Peace Memorial Restoration 2010 : $320,000 “There is the World War 1 monument Peace Triumphant, at the summit of the crest. As profound and meaningful, as handsome and well cared for as any war remembrance a small town can boast” Dan Haley, Wednesday Journal, 03.14.2018 And now it has an Appropriate Setting Scoville Park Master Plan Update - Park District of Oak Park Construction Costs • Park Renovation completed 2013 : Centennial of Jensen’s Design Renovation of Park : Construction Cost $2.2 M Grant Awarded to PDOP $1.6 million Please Note: Improvements were to be carried out in 4 Phases over many years However the PDOP won IDNR PARC grant of $1.6 million As a result the work was completed in a single phase Scoville Park Master Plan Update - Park District of Oak Park Grant Application and Approval Illinois Department of Natural Resources PARC grant $1.6 million PDOP Made Application.
    [Show full text]
  • Frank Lloyd Wright
    the drawings of MoMAExh_0703_MasterChecklist Frank Lloyd Wright ARTHUR DREXLER PUBLISHED FOR THE MUSEUM OF MODERN ART BY HORIZON PRESS, NEW YORK NOTES TO THE PLATES EOs: E:')thl bit-tel Ih rxh. 703 --r~ c-,t-CM1o.HLtJO Qfdt b; hbv, 1. DORMER WINDOW, CHAUNCEY L. WILLIAMS HOUSE, RIVER fOREST, ILLINOIS. 1895. IIIE" 6. PROJECT, YAHARA BOAT CLUB, MADISON, WISCONSIN. 1902. Perspective. 8%,"x4". Pencil on tracing paper. Perspective. 6%"x22". Brown ink on tracing paper (F 9505.01) £p, , ?> ;;<41 mounted to board. Signed in red square at center right: FLIW. Collection Henry Russell Hitchcock. /P), This early study of a dormer window offers some familiar ':I:<83 signs of accomplished draftsmanship: rapid, light lines Ncrr~H, pointed with abrupt dots and dashes. 7. PROJECT, YAHARA BOAT CLUB, MADISON, WISCONSIN. 1902. Perspective (on left side of sheet including plan of second ,....,.- story). 7%"x22%". Brown ink on opaque paper mounted FZ. I 2. PROJECL LUXFER PRISM COMPANY SKYSCRAPER. 1895. to board. (F 0211.01) il.300{; NOT 6)(1t. ! Elevation and section. 281,4"x17,%".• Pencil on tracing paper. Noted at bottom right: Study lor office building E' 8. PROJECT, WALTER GERTS HOUSE, GLENCOE, ILLINOIS. 1906. facade employingMoMAExh_0703_MasterChecklist Luxf er Prisrn-lighting 189.-5. PerspectIve. 18V2"x251h", Brown ink on opaque cream- (F 9509.01) & I, :./ 'DC colored paper. (F0203.01) ltl,3:01/ In this early study for an office building facade Wright gives nearly equal stress to verticals and horizontals. The F. 19. FRANK LLOYD WRIGHT STUDIO, OAK PARK, ILLINOIS. 1895. design is related to the steel framing he was later to f 1911.
    [Show full text]
  • The Haddon Township 'Doughboy'
    The Haddon Township "Doughboy" By Sandra White-Grear Haddon Township Historical Society March 1, 2010 Additions and Web Version by William B. Brahms, Haddon Township Historical Society, March 2010. http://www.haddontwphistoricalsociety.org/presentations--doughboy.pdf 1920 2010 Close-up showing sculptor's name on Haddon Township "Doughboy" Sculpture RICHARD W. BOCK SC. Close-up showing foundry mark on Haddon Township "Doughboy" Sculpture CAST BY AMERICAN ART BRONZE FOUNDRY CHICAGO Photos by S. White-Grear, 2010 The World War I memorial "Doughboy" sculpture, located in front of the Westmont Fire Company No. 1 at 120 Haddon Avenue in Haddon Township, was created by Richard Walter Bock. Bock was born in Schloppe, Germany on July 16, 1865. By 1870 his family emigrated to Chicago, Illinois where his father became a cabinet maker. Richard attended a Lutheran parochial school until age fourteen when he began an apprenticeship with his father at a furniture factory. The young Richard Bock excelled in the art of wood carving and as a teenager was paid for his skills. He earned enough money to enroll in the Mechanic's Institute of Chicago where he studied drawing and geometry. He also enrolled in a class to learn modeling and plaster casting. By age eighteen Richard Bock was on his way to becoming a sculptor. He worked as a modeler at the Northwestern Terra Cotta Company making terra cotta building designs. He then moved to New York City where he continued working as a modeler. By 1888 Bock left the United States to begin his formal arts training in Europe.
    [Show full text]
  • Introduction
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION NEIL LEVINE n a review in the New Republic in July 1931, just three months after Frank Lloyd IWright’s Modern Architecture: Being the Kahn Lectures for 1930 was originally published, the brilliant young critic and early devotee of European modern architec­ ture Catherine Bauer described it as “the very best book on modern architecture that exists.”1 A future leader in social housing and community planning, Bauer wrote this neither out of ignorance of the field nor out of personal sympathy with the author’s position in it. She had spent the year 1926–27 and the summer and early fall of 1930 in Europe, where she met many of the important figures in the modern movement and studied the work being done. Ernst May and J.J.P. Oud, both deeply engaged in the area of housing, along with her mentor and lover Lewis Mumford, whom she met in 1928, were particularly instrumental in shaping her thinking on the social and collec­ tive purposes of architecture. Bauer began her review of the Wright book affirming her belief that “architecture is intrinsically an unsatisfactory field of expression for the individual poet-genius.” “A new architecture,” she continued, “depends primarily on the careful establish­ ment and strict acceptance of an idiom that has its roots in the social and economic structure of the time.” Acknowledging that Wright was “without doubt the most bril­ liant individual architect of our time,” she deplored the fact that he “only wants to ex­ press his own personality” and thus concluded in the review’s preamble that his way was not the way of the future.
    [Show full text]
  • Artists, Designers, and Craftsmen at the Studio
    Artists, Designers, and Craftsmen at the Studio Bold, innovative and architectural, the furnishings and decorative arts of Wright’s Chicago years were conceived as integral elements of his Prairie interiors, designed in unity with each specific commission. This integration of art and architecture would not have been possible without the work of the skilled artists, designers and craftsmen who collaborated with Wright. Wright contracted with several Midwestern firms to fabricate his furniture and leaded glass designs. He also partnered with independent artists and artisans who contributed their unique talents to his architecture. To ensure a harmony of design key figures worked in close contact with Wright and his draftsmen, occupying space in the balcony level of the drafting room. While each individual brought their particular talents to bear on a commission, Wright maintained strict control ensuring every detail met with his encompassing vision. The sculptor Richard Bock, whose creations enriched many of Wright’s most famous Prairie buildings recounts the exacting process of working with Wright, Frank… wanted me to do a standing figure for the entrance of the Dana House. His idea for the figure was well-conceived but far from solved… we frictionized and fraternized, often coming to the verge of tears, for Frank could not make up his mind how it should be done. So we were building it up and tearing it down constantly. Finally he was out of town on business for a number of days. During this time I finished the whole thing. When he returned and saw what I had done, he beamed and threw his arms around me.
    [Show full text]
  • Frank Lloyd Wright
    Frank Lloyd Wright MINI BIOGRAPHY: FRANK LLOYD WRIGHT WAS ONE OF AMERICA'S MOST FAMOUS ARCHITECTS WHO INTRODUCED HIS CONCEPT OF "ORGANIC ARCHITECTURE" AND DESIGNED SUCH LANDMARKS AS THE FALLINGWATER AND THE GUGGENHEIM MUSEUM OF ART. HE WAS BORN FRANK LLOYD WRIGHT ON JUNE 8, 1867, IN RICHLAND CENTER, WISCONSIN, USA, INTO A FAMILY OF WELSH DESCENT. HIS FATHER, WILLIAM CARY WRIGHT, WAS A MUSIC TEACHER AND A BAPTIST MINISTER. HIS MOTHER, ANNA LLOYD-JONES WRIGHT, WAS A TEACHER. HIS FATHER PLAYED THE MUSIC OFJOHANN SEBASTIAN BACH WHICH WRIGHT LATER CREDIT AS A SOURCE OF HIS SENSE OF HARMONY IN MUSIC AND ARCHITECTURE. HIS MOTHER INVOLVED HIM IN PLAYING WITH FROEBEL'S GEOMETRIC BLOCKS, WHICH FORMED HIS 3D VISION, AND LATED HELPED HIM DEVELOP ARCHITECTURAL STYLE MARKED WITH GEOMETRICAL CLARITY. WRIGHT STUDIED ENGINEERING AT UNIVERSITY OF WISCONSIN FOR TWO YEARS, BUT DROPPED OUT WITHOUT GRADUATING. HE MOVED TO CHICAGO AND WORKED FOR SEVERAL ARCHITECTURE FIRMS, INCLUDING HIS SIX YEARS WORKING DIRECTLY WITH THE "FATHER OF MODERNISM" AND LEADER OF THE CHICAGO SCHOOL, LOUIS HENRY SULLIVAN, WHO WAS WRIGHT'S MENTOR FROM 1888-1893. •COLLEAGUES AND INFLUENCES : WRIGHT RARELY CREDITED ANY INFLUENCES ON HIS DESIGNS, BUT MOST ARCHITECTS, HISTORIANS AND SCHOLARS AGREE HE HAD FIVE MAJOR INFLUENCES: LOUIS SULLIVAN, WHOM HE CONSIDERED TO BE HIS 'LIEBER MEISTER' (DEAR MASTER), NATURE, PARTICULARLY SHAPES/FORMS AND COLORS/PATTERNS OF PLANT LIFE, MUSIC (HIS FAVORITE COMPOSER WAS LUDWIG VAN BEETHOVEN), JAPANESE ART, PRINTS AND BUILDINGS. PERSONAL STYLE AND CONCEPTS : WRIGHT'S CREATIONS TOOK HIS CONCERN WITH ORGANIC ARCHITECTURE DOWN TO THE SMALLEST DETAILS. FROM HIS LARGEST COMMERCIAL COMMISSIONS TO THE RELATIVELY MODEST USONIAN HOUSES, WRIGHT CONCEIVED VIRTUALLY EVERY DETAIL OF BOTH THE EXTERNAL DESIGN AND THE INTERNAL FIXTURES, INCLUDING FURNITURE,CARPETS, WINDOWS, DOORS, TABLES AND CHAIRS, LIGHT FITTINGS AND DECORATIVE ELEMENTS.
    [Show full text]
  • Wisconsin Magazine of History
    WISCONSIN MAGAZINE OF HISTORY The State Historical Society of Wisconsin • Vol. 72, No. 3 • Spring, 1989 THE STATE HISTORICAL SOCIETY OF WISCONSIN H. NICHOLAS MULLER 111, Director Officers MRS. L. PRENTICE EAGER, JR., President GERALD D. VISTE, Treasurer GEORGE H. MILLER, First Vice-President H. NICHOLAS MULLER III, Secretary MRS. B. L. BERNHARDT, Second Vice-President THE STATE HISTORICAL SOCIETY OF WISCONSIN is both a state agency and a private membership organization. Founded in 1846—two years before statehood—and chartered in 1853, it is the oldest American historical society to receive continuous public funding. By statute, it is charged with collecting, advancing, and disseminating knowledge of Wisconsin and of the trans-Allegheny West. The Society serves as the archive of the State of Wisconsin; it collects all manner of books, periodicals, maps, manuscripts, relics, newspapers, and aural and graphic materials as they relate to North America; it maintains a museum, library, and research facility in Madison as well as a statewide system of historic sites, school services, area research centers, and affiliated local societies; it administers a broad program of historic preservation; and publishes a wide variety of historical materials, both scholarly and popular. MEMBERSHIP in the Society is open to the public. Individual membership (one person) is $25. Senior Citizen Individual membership is $20. Family membership is $30. Senior Citizen Family membership is $25. Supporting membership is f 100. Sustaining membership is $250. A Patron contributes $500 or more. THE SOCIETY is governed by a Board of Curators which includes twenty-four elected members, the Governor or designee, three appointees of the Governor, a legislator from the majority and minority from each house, and ex officio, the President of the University of Wisconsin System, the designee of the Friends Coordinating Council, the President of the Wisconsin History Foundation, Inc., and the President of the Administrative Committee of the Wisconsin Council for Local History.
    [Show full text]